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Track Listings

Product Description

Product Description

2013 Japanese pressing reissue. Remastered. Hostess

Amazon.ca

After the Birthday Party ended in a manner similar to a train collision, frontman Nick Cave emerged from the wreckage and hooked up ex-bandmate Mick Harvey, Blixa Bargeld (on loan from the industrial group Einsturzende Neubauten), Barry Adamson (fresh from Magazine), and the lovely but corpse-pale Anita Lane. Thus the Bad Seeds were born, second only to Cave's former band in their ability to create a rumbling caterwaul. What makes the Bad Seeds stand apart, though, are the elements of delta blues that Cave dredges up from the darkest recesses of his black, black heart--blues unlike any you've ever heard before--and his Faulkner-meets-Lovecraft lyrical obsessions. "Well of Misery" shambles along drunkenly and eventually crumbles under its somnambulant pace. On the title track Cave exhorts, begs, and pleads like a whiskey priest begging for forgiveness after a bender while Bargeld's guitar shrieks and wails like a congregation of devils. Including two of Cave's more inspired covers--Leonard Cohen's "Avalanche" and Presley's "In the Ghetto"--From Her to Eternity captures Cave at the noisy intersection between the punk-rock entropy of the Birthday Party and his later incarnation as the gothic Elvis. Amazing, scary stuff. --Tod Nelson

Most helpful customer reviews

This debut solo album by Cave has grown in stature down the years. The mood is Goth, the songs are mostly folkie laments, both lyrically and melodically impressive, his voice is like dark red velvet and the whole is dark, brooding and atmospheric. With the superb backing of Bad Seeds Blixa Bargeld, Mick Harvey, Barry Adamson and Anita Lane, this album is just perfect in its blood-cuddling rawness. I love the eerie cover of Leonard Cohen's Avalanche, whilst the striking images in Cabin Fever elevates an ordinary tune into the unforgettable. Well Of Misery stands out for its interesting vocal arrangement. Cave's cover of Elvis' In The Ghetto is quite stunning. The title track is an anguished and harrowing love song with atmospheric vocal samples and industrial infusions. With these songs Cave established himself in the great tradition of artists like Cohen, Richard Thompson (in his dark moments), Tom Waits, Peter Murphy and Michael Gira, as a master of the deep, dark lament.

If the phrase "atonal funk/blues caterwalling" sparks your interest, this is the CD for you. The Bads Seeds are excellent players who understand how important silences are to raising an unholy din. Cave sings with complete disregard for sounding pretty but can't help being musical (he has a strong, clear voice with an impressive range.) The lyrics range from stunning ("Saint Huck" is flat-out brilliant) to evocative to sometimes just melodramatic.The original songs are strong enough, in fact, that the two covers are the weakest parts of the CD. "In The Ghetto" sounds like it was done on a bet to gain pop-radio play, but it does give you a chance get up and go to the kitchen for another cup of coffee. "Avalanche," starting the set, is more of a problem - this isn't one of Cohen's best lyrics, and Cave and the band sound restricted by the simplistic melody.Nearly five starts, though, for the rest of the set (even for the unnecessary repeat of the title song, which at least reminds me of one of my favorite films). I may never have another Nick Cave recording, but I'm glad to have this one.

An unusually accomplished debut album that many to this day consider to be Cave's best. Kicking off with their commanding version of Leonard Cohen's Avalanche, the record steadily moves on from there to such classics as the aching Well of Misery, the monumental title track (still a staple at live shows), and the melancholy mini-epics Saint Huck and A Box For Black Paul. Much is made of the Cohen cover, but I find the cover of Presley's In The Ghetto to be one of the album's standout tracks. It and the aforementioned Black Paul show the piano-laden musical backing that would come to dominate Cave's later albums. In reality, there's not a bad song on here, and everything that we love about Cave-dark, gloomy lyrics, Bibilical and goth references, dramatic musical backing, his commanding vocal presence (he truly becomes the character he is portraying in each song)-is present here. In truth, the second, live version of the title track tacked onto the end of this album is unnecessary; it's shorter than an inferior to the original studio recording. But anything added to this album is just icing on the cake, anyway. A fine record.

It depends on your point of view. If you like your Cave tuneful then this is not really for you, but if you liked 'The Birthday Party' then buy this. Personally I would differ from the other reviwers on this page because this is not my favourite Cave album. I think it is undisciplined in comparison to his later work (check out The Forstborn is Dead for progress in that direction). I don't think the band have quite discovered their direction,(Punk? Blues? Art Rock?) at this point. The cover of 'In the Ghetto' sits very unconfortably with the other stuff. This album sounds like the birth of The Bad Seeds in many ways. In my opinion the best songs are 'Well of Misery', which is a taster of the evil blues to come on later albums, the fantastic cover of Cohen's 'Avalanche', the poetic racket that is 'Saint Huck' and of course the undoubted masterpiece 'From Her to Eternity'.

The use of ambience and noises as essential elements are emphasized than on any other album, and the more rock-like songs continue the thrashing crashing colliding work of THe Birthday Party, while Cave's ventures into Americana and Delta Blues and balladry start to make their appearance as well. The result is a very atmospheric album that can't really be explained in any normal terms other than incredibaly scary, supernatural music that stands up to other works by post-punk bands that were popping around the same time---Sonic Youth's "Bad Moon Rising" and THe Swans "Children Of God...". "Saint Huck", "Cabin Fever", and the title track are long, thought-out aggressive masterpeices, but my personal favorite is the so spooky it hurts "Box For Black Paul". A frieghtening listen from beginning to end.

There is no Nick but Nick. Asked to pick a "best" Nick Cave album, most fans will probably eventually land on "From Her to Eternity" and it's hard to argue. (It is, afterall, the song Nick sings during the concert scene in "Wings of Desire"). From the version of Leonard Cohen's ''Avalanche" that opens the cd to the live (second) version of the title track that closes it, there's a lot of great stuff on this album. "St. Huck" could probably get a passing grade in many an advanced English class, intertwining as it does allusions to Twain and Homer. Every song on this album, with the exception of "In the Ghetto," is a classic; listen to it, and see if you can possibly pick your own favorites--I find I cannot.